Decolonising Artistic Practices

Ethical Engagement and the Paradox of Knowledge Colonisation

Abstract

This essay examines the complexities and ethical dilemmas faced by non-Indigenous artists and academics engaging with decolonial discourse, emphasising the importance of respecting and amplifying First Nations voices. Motivated by the need for authentic representation of Indigenous perspectives, the paper integrates insights from Wiradjuri philosophy, specifically the Yindyamarra Winhanganha (respectful thinking) framework, to propose a holistic and ethical approach for 
 non-Indigenous engagement with decolonial practices. By analysing a case study involving the queer performance collective, The Department of Homo Affairs, the paper highlights the risks of perpetuating colonial dynamics through the appropriation of Indigenous knowledge. It proposes 
 a code of ethics for non-Indigenous artists based on Wiradjuri principles, promoting critical 
 self-reflection, genuine collaboration, and prioritising Indigenous authority. The paper also explores the broader implications for policy and institutional change, aiming to create a more equitable and inclusive academic and artistic landscape.

Introduction

As decolonial discourse gains increasing traction in academic and artistic circles, it becomes crucial to recognise the complexities and ethical dilemmas inherent in this engagement, particularly for non-Indigenous artists and academics. The increasing involvement of non- Indigenous individuals in decolonial practices often risks perpetuating colonial dynamics by appropriating Indigenous knowledge and narratives for personal or professional gain.

Motivated by a desire to ensure that Indigenous perspectives are authentically represented, this document integrates insights from Wiradjuri philosophy, specifically the Yindyamarra Winhanganha (respectful thinking) framework, to propose a holistic and ethical approach for non- Indigenous individuals engaging with decolonial practices. By prioritising and amplifying Indigenous voices, promoting ethical engagement, and providing practical guidelines, this work aims to create a more respectful and equitable academic and artistic landscape.

Through a comprehensive framework rooted in Wiradjuri cultural principles and practical case studies, this document offers a path forward for those seeking to engage with decolonial practices that honour Indigenous cultural sovereignty and support Indigenous self-determination.
 




Yindyamarra Winhanganha Framework

The Yindyamarra Winhanganha (respectful thinking) framework provides a culturally appropriate and respectful foundation for research and artistic practices rooted in Wiradjuri cultural principles. These principles, articulated by Jonathan Jones, offer a guide for non-Indigenous individuals to engage ethically and respectfully with Indigenous communities. The fundamental principles of Yindyamarra Winhanganha include:

1. Dhulu-ya-rra-bu wudha-gar-bin-ya-bu yindyamal-dhuray-bu
(talk straight, listen deeply, and act respectably)

Emphasises honest and respectful communication, involving deep listening to community voices and acting to
honour and respect their knowledge and perspectives.

2. Buram-ba-bi-rra ngayi-ny (share thought):

Encourages the sharing of knowledge and thoughts to build collective understanding and ensure the research
benefits the community.

3. Marraga-la-dha (care for the community)
Prioritises the community's well-being in all research activities, ensuring that the research is beneficial and
meaningful to the community.

4. Gulba-ngi-dyili-nya (know yourself and your position):
Promotes self-awareness and humility, encouraging individuals to understand their cultural identity and
positionality within the research context.

5. Walan-ma-ya Wiradjuri mayiny-galang (Wiradjuri self-determination):
Supports and promotes self-determination for the Wiradjuri people, ensuring the research upholds
community control and agency over cultural knowledge and practices.

6. Wama-rra Wiradjuri gulbanha (build Wiradjuri knowledge systems)
Focuses on strengthening ancestral and contemporary knowledge systems within the Wiradjuri
community, integrating traditional knowledge with modern practices.

7. Nganga-dha nguram-bang (look after country)
Emphasises the importance of caring for the land, reflecting the interconnectedness of people and
their environment in Wiradjuri culture.

The Yindyamarra Winhanganha framework inherently supports continuous reflection and adaptation, allowing for a respectful and relevant engagement with Indigenous knowledge over time. These principles ensure that non-Indigenous individuals engage in decolonial practices with respect and integrity while honouring Aboriginal and Torres Strait Islander peoples’ cultural sovereignty.


 

The Problematic Case Study: The Comedown Cancellation

In recent years, the queer performance and research collective, The Department of Homo Affairs, has been involved in various acts of solidarity with First Peoples' anti-colonial struggles. For instance, their planned event titled "The Comedown" at the James Cook statue in Sydney's Hyde Park was intended as a queer act of solidarity. However, it was cancelled due to concerns about the organisers' authority to hold such an event on stolen land. This incident highlights non- Indigenous artists' complexities and ethical dilemmas in decolonial critique. The collective's realisation of their oversight underscores the need for non-Indigenous allies to respect Indigenous authority and agency, emphasising the importance of proper consultation and collaboration. This aligns with the framework's principle of Dhulu-ya-rra-bu wudha-gar-bin-ya-bu yindyamal-dhuray- bu (talk straight, listen deeply, and act respectably), emphasising the need for honest and respectful communication and consultation (Jones, 2018).

The Ethical Dilemma: Art, Positionality, and Co-opting Narratives

Non-Indigenous artists and academics engaging with decolonial themes must critically examine their positionality within the colonial construct. 'Positionality' refers to one's social and political location, including their privileges and power dynamics within a given context. Despite their intentions, they often benefit from colonial systems, which can enhance their professional status while engaging with Indigenous narratives. This dynamic risks re-colonising Indigenous knowledge, allowing non-Indigenous individuals to profit from the very systems they aim to dismantle. By adhering to the principle of Gulba-ngi-dyili-nya (know yourself and your position), non-Indigenous artists can maintain transparency and build trust.

Non-Indigenous academics and artists need to ensure their positionality is not misrepresented. Their non-Indigenous position should be apparent to avoid false impressions of being an insider within Indigenous contexts. Transparency about one's positionality helps maintain integrity and builds trust in collaborative and decolonial efforts. The framework’s principle of Gulba-ngi-dyili- nya (know yourself and your position) directly supports this, encouraging self-awareness and humility in recognising one's privileges and positionality within the colonial construct (Jones, 2018).

Proposed Code of Ethics for Non-Indigenous Artists

To navigate these ethical complexities, we propose a code of ethics grounded in Wiradjuri values: Yindyamarra (to do slowly, respectfully, to be gentle, to be polite, and to honour), Winhangarra (hear, think, listen), and Winhangadurinya (meditate, know, reflect), and the Wiradjuri philosophy of Yindyamarra Winhanganha (respectful thinking), as articulated by Jonathan Jones. As Uncle Stan Grant Snr. has said, "Yindyamarra Winhanganha calls us to build a world of respect grounded in our knowledge and being in a world worth living in." These values offer a culturally informed framework for respectful and ethical engagement in decolonial practices.

1. Acknowledge and Reflect on Colonial Privilege

Reflect on Your Positionality: Acknowledge the benefits you derive from colonial systems and understand that engaging with decolonial themes can elevate your position within that framework. Ensure your non-Indigenous positionality is not misrepresented and is made apparent to avoid any false impressions of being an insider within Indigenous contexts. This aligns with Gulba-ngi- dyili-nya (know yourself and your position) (Jones, 2018).

Avoid Self-Centering: Ensure your work does not centre your experiences, perspectives, and professional career over those of Indigenous peoples you are working with.

2. Respect Indigenous Authority and Cultural Sovereignty

Seek Consent and Collaboration: Always obtain consent and collaborate genuinely withIndigenous communities and artists. Respect their cultural sovereignty and authority over their narratives. This aligns with Dhulu-ya-rra-bu wudha-gar-bin-ya-bu yindyamal-dhuray-bu (talk straight, listen deeply, and act respectably) (Jones, 2018).

Defer to Indigenous Leadership: Ensure Indigenous leaders and artists are at the forefront of decolonial projects. Non-Indigenous artists should support, not lead, these narratives. Walan-ma- ya Wiradjuri mayiny-galang (Wiradjuri self-determination) and broader principles of Aboriginal self- determination support this (Jones, 2018).

3. Active Listening and Genuine Engagement

Commit to Listening: Prioritise active listening to understand Indigenous communities' lived experiences and perspectives. This aligns with Dhulu-ya-rra-bu wudha-gar-bin-ya-bu yindyamal- dhuray-bu (talk straight, listen deeply, and act respectably) (Jones, 2018).

Know When to Be Quiet: Recognise that some stories and experiences are not yours to tell. Create space for Indigenous voices to lead the narrative.

Reflective Practice: Continuously reflect on feedback and be open to change. Be willing to adapt your approaches based on the insights and guidance from Indigenous collaborators. This aligns with Winhangadurinya (meditate, know, reflect) (Jones, 2018).

4. Ongoing Self-Education and Critical Reflection

Educate Yourself: Learn about colonisation's historical and contemporary impacts on Indigenous peoples. This education should be ongoing and self-driven.
Interrogate Motivations: Regularly question your motivations and the impact of your work. Do your actions genuinely contribute to decolonial efforts, or do they enhance your profile for personal gain? This aligns with Winhangadurinya (meditate, know, reflect) (Jones, 2018).

5. Addressing the Issue of Profiting from Decolonial Work

Fair Compensation: Ensure collaboration with Indigenous artists and communities includes fair compensation for their time, knowledge, and contributions. Avoid situations in which non- Indigenous participants reap primary financial and reputational gains. This aligns with Marraga-la- dha (care for the community) (Jones, 2018).


Transparency and Accountability: Be transparent about your project's goals and outcomes. Create accountability mechanisms so Indigenous partners can provide feedback and hold you accountable for missteps. This aligns with Dhulu-ya-rra-bu wudha-gar-bin-ya-bu yindyamal- dhuray-bu (talk straight, listen deeply, and act respectably) (Jones, 2018).


 


6. Prioritise and Amplify Indigenous Voices

Create Space for Indigenous Narratives: Use your platform to amplify Indigenous voices. Instead of speaking over them, highlight and support Indigenous-led projects and initiatives. This aligns with Buram-ba-bi-rra ngayi-ny (share thought) (Jones, 2018).

Avoid Tokenism: Ensure that your engagement is not tokenistic. Genuine allyship involves long-term commitment and structural support for Indigenous arts and culture. This aligns with Walan-ma-ya Wiradjuri mayiny-galang (Wiradjuri self-determination) (Jones, 2018).



First Nations Cultural Obligations

As First Nations people, we uphold our cultural responsibilities to our country, elders, and future generations. We engage in stewardship to care for the land, show respect and kindness to all beings, and preserve knowledge to ensure our descendants can lead healthy and fulfilling lives. These principles are integral to our engagement in decolonising practices. Non-Indigenous individuals must recognise and respect this positioning and actively uplift and support us by following our protocols. By doing so, they aid in decolonisation and contribute to a more equitable and respectful discourse. These obligations align with Nganga-dha nguram-bang (look after country) and Wama-rra Wiradjuri gulbanha (build Wiradjuri knowledge systems) (Jones, 2018).



Ethical Reflexivity in Practice and Intersectionality

Ethical reflexivity, a process of continuous self-examination, reflection, and adaptation of one's practices, is crucial and a responsibility when engaging with decolonial themes. It ensures that our work remains responsive to evolving ethical standards and feedback, particularly from Indigenous communities. This process is essential for non-Indigenous artists, academics, and First Nations individuals, as it ensures respect and integrity in our work.

Continuous Self-Examination: It is not enough to question your motivations for engaging with decolonial themes once. It is a constant process. Are your actions genuinely aimed at supporting Indigenous communities, or are they primarily serving your interests? Reflect on how your positionality and privilege influence your work. This aligns with Gulba-ngi-dyili-nya (know yourself and your position) and Winhangadurinya (meditate, know, reflect) (Jones, 2018).


Seeking Feedback: It is not just about being open to critique; it is about actively seeking input from Indigenous collaborators and communities. Be open to critique and adapt your practices based on the insights and guidance provided. This process helps ensure your work aligns with Indigenous peoples' needs and perspectives. This aligns with Dhulu-ya-rra-bu wudha-gar-bin-ya- bu yindyamal-dhuray-bu (talk straight, listen deeply, and act respectably) and Winhangarra (hear, think, listen) (Jones, 2018).


Adaptation of Practices: Incorporate feedback into your work to address missteps or oversights. This might involve altering your approach, acknowledging errors, and making necessary changes to ensure your practices are respectful and supportive of Indigenous sovereignty.


Evolving Ethical Standards: Stay informed about changing ethical standards and best practices in decolonial work by reading current literature, attending workshops, and listening to discussions on ethical engagement with Indigenous communities. This ongoing education helps you remain accountable and responsive to new insights and developments.

Practical Steps

Regular Reflection Sessions: Schedule regular reflection sessions to assess your work and its impact. Consider how your practices have evolved and identify areas for further improvement. For instance, regularly scheduled reflection sessions can help artists and academics reassess their positionality and the impact of their work.

Documentation: Keep a journal or documentation of your reflections, feedback received, and actions taken in response. This record can be valuable for tracking your progress and ensuring accountability.

Intersectionality

Understanding intersectionality is essential for engaging with the diverse experiences within Indigenous communities. Intersectionality refers to the interconnected nature of social categorisations such as race, gender, sexuality, and disability, which create overlapping and interdependent systems of discrimination or disadvantage.

Gender
Women's Voices:
Pay attention to the voices and experiences of Indigenous women, who often face unique challenges due to the intersection of gender and race. Ensure that their perspectives are included and prioritised in your work.

Two-Spirit and LGBTQ+ Individuals:
Recognise and respect the identities and experiences of Two-Spirit and LGBTQ+ individuals within Indigenous communities. Their stories are often marginalised and require specific attention to ensure inclusive and respectful engagement.

Sexuality
Inclusive Practices: Adopt inclusive practices that acknowledge and celebrate diverse sexual orientations and identities. This includes using appropriate language, creating safe spaces for expression, and ensuring representation in your projects.

Disability
Accessibility: Ensure your work is accessible to individuals with disabilities. This includes considering physical accessibility, providing accommodations for various needs, and creating inclusive environments that welcome and support disabled Indigenous individuals.

Nuanced Understanding and Engagement

Holistic Approach: Take a holistic approach that considers the multiple dimensions of identity and how they intersect to shape individual experiences. This understanding helps avoid one- dimensional portrayals and ensures a more comprehensive and respectful engagement.

Collaborative Efforts: Collaborate with organisations and groups focusing on intersectional issues within Indigenous communities. This collaboration can provide valuable insights and resources to support your work.

By incorporating ethical reflexivity and intersectionality into your practices, non-Indigenous artists and academics can engage more respectfully and effectively with Indigenous communities. This approach enhances the integrity and impact of their work and contributes to a more inclusive and equitable discourse.

Broader Implications and Future Directions

Adopting ethical principles rooted in Indigenous knowledge and cultural respect can profoundly influence policy changes within academic and cultural institutions. These principles can drive structural changes that support long-term inclusion and prioritise Indigenous voices.

Policy Changes

Integration of Indigenous Knowledge Systems: Institutions should integrate Indigenous knowledge systems into their curricula and research frameworks. This includes creating dedicated programs and courses on Indigenous methodologies, histories, and cultural practices taught by First Nations academics. By doing so, institutions acknowledge the value of Indigenous knowledge and promote its inclusion as a fundamental part of the academic discourse.

Cultural Competency Training: Mandatory cultural competency training for all staff and students can help generate a respectful and inclusive environment. Such training should be developed and delivered by First Nations experts and cover the historical and contemporary impacts of colonisation, cultural protocols, and ethical engagement practices.

Ethical Research Guidelines: Establish and enforce ethical research guidelines prioritising Indigenous sovereignty and intellectual property rights. These guidelines should ensure that all research involving Indigenous communities is conducted with their full consent, participation, and benefit.

Structural Changes

Indigenous Leadership in Decision-Making: Ensure Indigenous people are represented in decision-making roles within academic and cultural institutions. This includes appointing Indigenous individuals to leadership positions such as deans, directors, and board members.
Funding and Support for Indigenous-Led Projects: Allocate funding and resources for research and artistic projects. This support can empower Indigenous scholars and artists to lead decolonial efforts and contribute their perspectives to the broader discourse.
Accountability Mechanisms: Implement accountability mechanisms to monitor the impact of these policy changes and ensure that they effectively support Indigenous inclusion and leadership. This could involve regular reviews, feedback from Indigenous communities, and transparent reporting.

Future Directions for Decolonial Practices

As we look to the future, several critical areas for growth and ongoing challenges need to be addressed to achieve true decolonisation in academia and the arts.

Areas for Growth

Collaborative Partnerships: Develop collaborative partnerships between Indigenous and non- Indigenous scholars and artists. These partnerships should be based on mutual respect, reciprocity, and the co-creation of knowledge. By working together, both groups can learn from each other and create more comprehensive and inclusive decolonial practices.

Digital Platforms and New Media: Leverage digital and new media to amplify Indigenous voices and narratives. These technologies can provide innovative ways to share Indigenous knowledge and cultural expressions with wider audiences, ensuring they are preserved and celebrated.

Interdisciplinary Approaches: Encourage multidisciplinary approaches that combine insights from various fields such as anthropology, history, art, and environmental science. This holistic perspective can enrich decolonial practices and provide a more nuanced understanding of Indigenous experiences and contributions.



Ongoing Challenges

Addressing Power Imbalances: Despite efforts to decolonise, power imbalances persist between Indigenous and non-Indigenous individuals and institutions. Continuous effort is required to address these imbalances and create truly equitable spaces.

Sustaining Long-Term Commitment: Achieving true decolonisation requires a long-term commitment. Institutions must remain vigilant and proactive in their efforts, ensuring that decolonial practices are not just temporary initiatives but integral parts of their mission and operations.

Navigating Cultural Sensitivities: Engaging with Indigenous knowledge and cultural expressions requires navigating complex cultural sensitivities. Non-Indigenous scholars and artists must approach this work with humility, respect, and a willingness to learn and adapt based on feedback from Indigenous communities.


Conclusion and Call to Action


Non-Indigenous academics and artists must navigate the complexities of engaging with decolonial themes without perpetuating colonial dynamics. Recognising the harmful potential for knowledge colonisation and profiting from decolonial work, they should adopt practices that prioritise Indigenous voices, respect cultural sovereignty, and ensure equitable distribution of benefits. This requires critical self-reflection, respect for Indigenous intellectual property, genuine collaboration, and continual education on the impacts of colonisation. By committing to these principles, non-Indigenous allies can support dismantling colonial structures and contribute meaningfully to decolonisation, creating a more just and equitable society. Following the principles of Yindyamarra (to do slowly, respectfully, to be gentle, to be polite, and to honour), Winhangarra (hear, think, listen), and Winhangadurinya (meditate, know, reflect), and the framework Yindyamarra Winhanganha, non-Indigenous allies can effectively support decolonial efforts.

In summary, non-Indigenous academics and artists are responsible for engaging with decolonial themes ethically, ensuring they do not perpetuate colonial dynamics. By adhering to Wiradjuri values—Yindyamarra (to do slowly, respectfully, to be gentle, to be polite, and to honour), Winhangarra (hear, think, listen), and Winhangadurinya (meditate, know, reflect)—and the Yindyamarra Winhanganha (respectful thinking) framework, they can cultivate a respectful, ethical, and equitable approach to decolonial practices. This commitment ensures that Indigenous voices and leadership remain at the forefront.


Call to Action

Non-Indigenous academics and artists must:


1. Critically Reflect: Regularly evaluate your positionality and the impact of your work on Indigenous communities.
Ensure your actions contribute positively to decolonial efforts.
2. Prioritise Indigenous Voices: Proactively create opportunities for Indigenous narratives and leadership to flourish
while refraining from centring your experiences, perspectives, and professional ambitions.
3. Respect Cultural Sovereignty: Seek genuine consent and collaboration with Indigenous communities, respecting
their authority over their cultural and intellectual property.
4. Ensure Equitable Distribution: Fairly compensate Indigenous collaborators and share the benefits of your work equitably.
5. Engage in Continuous Learning: Commit to ongoing education about the impacts of colonisation and Indigenous
histories and cultures.
6. Act with Integrity: Be transparent about your goals and outcomes, and be accountable for your actions by inviting
and responding to feedback from Indigenous partners.

By embracing these principles and committing to ethical engagement, non-Indigenous allies can play a crucial role in dismantling colonial structures and promoting a truly decolonised society. Our collective dedication to these values depends on the future of a just and equitable world.


Recommended Readings and Resources

1. Jones, J. (2018). Murruwaygu: Following in the footsteps of our ancestors (Doctoral dissertation). University of Technology Sydney. Retrieved from https://opus.lib.uts.edu.au/ bitstream/10453/133196/1/01front.pdf
2. Grant, S., & Rudder, J. (2010). A New Wiradjuri Dictionary. Restoration House.
3. Moreton-Robinson, Aileen. Talkin' Up to the White Woman: Indigenous Women and Feminism. University of Queensland Press, 2000.
4. Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. 2nd ed., Zed Books, 2012.
5. Australia Council for the Arts. Protocols for Using First Nations Cultural and Intellectual Property in the Arts. Australia Council for the Arts, 2019.
6. Chilisa, Bagele. Indigenous Research Methodologies. 2nd ed., SAGE Publications, 2019.
7. Wilson, Shawn. Research Is Ceremony: Indigenous Research Methods. Fernwood Publishing, 2008.
8. First Nations Australia Writers Network (FNAWN). "First Nations Australia Writers Network." FNAWN,
9. The Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS). "Guidelines for Ethical Research in Australian Indigenous Studies." AIATSIS, 2012, [https://aiatsis.gov.au/]
10. The power of yindyamarra: how we can bring respect to Australian democracy - CSU News.

Non-Indigenous academics and artists can further their understanding of ethical engagement and decolonial practices by studying these readings and resources.


July 2024
MFA, GradCert (Wiradjuri Language, Culture and Heritage)

Clinton Hayden is a Wiradjuri Blak queer artist and writer based in Melbourne. His practice spans photography, AI image creation, print media, drawing, and bricolage, exploring the intersections of personal and collective histories. Clinton’s work is deeply informed by his commitment to preserving and promoting Wiradjuri language and engaging with Indigenous Queer Futurism.